Long before the LEGO games were simply brick-ified renditions of other major pop culture franchises, there was LEGO ISLAND, a primitive and extremely surreal exploratory PC game with its own bizarre world and personality. The game was foundational for me, and was among my primary introductions to navigating 3D environments in first person. I still find it transportive, confounding, and slightly eerie due to its totally unique, difficult to describe atmosphere: something about the open but very limited world, visuals simplified almost to the point of metaphor, disjointed slapstick humor often involving disassembly of the lego citizens bodies, and--most of all--its compressed but highly experimental and eclectic OST, give it the comical but disconcerting feeling of something like LSD: Dream Emulator or a David Lynch film. The soundtrack is incredibly strange and all over the place: some of the tracks, like "Information Center: Top" feel like proto-vaporwave and feature distorted audio sampling and arrhythmic instrumentation, while others like "park" or "Lucky You" resemble New Age grooves or janglepop radio jams from this relatable but implacably foreign Lego world.

The song I want to suggest, though, is probably the weirdest. The hysterically strange "Mama Papa Brickolini" functions as a novelty jukebox track sung by the pizzeria owners on Lego Island, who also happen to be absurdly broad Italian stereotypes. That trademark Lego Island eeriness is also present--The song is actually about how the Pizzeria is the only food source on the island and how pizza is literally the sole dietary element of Lego Island citizens, despite them being aware of and longing for other culinary experiences. It has everything I love about Lego Island: Idiosyncratic humor, strange translations of real-life customs and cliches, tinny but catchy sounds, and a subtle sense of lurking existential dread. Lego Island is a rough, primitive experience, but I admire it for its totally unique personality and cant help but lament the "popular movie series, but with Lego!" format that games in the franchise been distilled into.

(Sorry this went on so long!!!!!! I have a lot of silly opinions about this silly game and went a little overboard. If the track ends up being featured I'm 100000% fine with being paraphrased.)

I'm still not sure how I feel about Far Cry 5 as a complete entity but I can safely say that the soundtrack has some bangers on it. This is the bangeriest out of all of them. Say what you want about xenophobic, reactionary paranoia, but it makes for some catchy tunes.

I decided to start collecting gameboy advanced games and knew that Golden Sun was a must play. I found out the sequel was basically part 2 of the story and acted like the second half to a game that had been split in two to save space on the cartridges. This led me to expect the already fantastic music to remain the same in the sequel. I was very wrong. Not only did the quality stay the same but I found all new tracks, which was evident the moment this wonderful battle theme roared to life. It has been since the new year since I played the game, but this battle them still makes me remember play by plays of enemy encounters.

Given that we just explored Jonathan Dunn's wonderful Robocop theme on a previous Cane and Rinse, I'd like to submit one of his more overlooked pieces. This is my enduring memory of the better-than-it-should-have-been Game Boy tie-in game, Jurassic Park. That drop at the 43 second mark with the offbeat, sidchip-style chords is gorgeous, and the dramatic beat either side of it makes for something of a delicious auditory sandwich.

Another track I've been enjoying recently is one that used to be rubbish. The original version of this song sounds flat, lifeless and ultimately a little miserable. But the remastered version of "Turtle Village" in the Crash Bandicoot N-Sane Trilogy demonstrates just how important the right direction and instrumentation is. Everything from the original is there, but it's given the kick up the rear it needs to elevate it from humdrum lethargy to bouncing, energetic joy. It is, ultimately, little more than some funky bass and rapid bongo beats, but I defy you not to at least shuffle joyously in your seat to this one. I appreciate a lot of the die-hards still prefer the original, but to me this blows it completely out of the water.

I should probably actually post something in here, it’s been a while...

The Dynasty Warriors games have long been known for having a very singular vision for their soundtracks. Cheesy epic rock. This piece is from the Final Battle of the most recent game, Dynasty Warriors 9 (yes, it says 8 on the video, no I’m not going to take the time today to explain why the Japanese releases are one number behind).

It sums up the style pretty well. It’s super cheesy. I think there are at least three truck drivers gear changes in there. And it is looooong. Which is fitting for the end of a 70 hour game. Also, it is called ‘the epic remains forever’. So there’s that.

I recently started listening to the podcast and I have to say, I'm seriously impressed. You covered songs I never thought I'd find! ... but on a similar note, there's so much music out there I have to say, you missed some good stuff.

Starting out I'd like to suggest some tracks from Crash Twinsanity, though there are plenty of great crash games for music. The entire OST is arranged by Spiralmouth, an a Capella group and I think they did an amazing job on this entire soundtrack.
Personally, I would recommend "N. Sanity Island" though this is only because I can't suggest the entire song list.

Secondly, Id like to represent some more Wild Arms. I found this game a couple years ago and have been in love with its soudtrack from that moment on! This song below is Town, and then Town (Feeling Wind) both by Michiko Naruke, the latter composed for the Feeling Wind Volume 1 album, and as such being a classical piano track.

The next game I think could surely use some more love is Ape Escape. The score is well written to the point of knowing exactly where and when you are, just as the game intended.

When Spike begins to enter the 15th century in the Ancient East we are delivered a rousing oriental tune. This track in particular, Sushi Temple, really allows you to feel the Oriental Japan vibe without leaving the childish fun of capturing lose apes behind.

And then when we get to the modern times of the 20th century, the entire score takes a twist, becoming percussive, industrial hits. In fact, some are almost futuristic, like this track, Specter's Castle, found near the end of the game.

Taking a break from games that have been around for a decade or more, we have a much more modern track.
From Celeste, Forsaken City (Sever the Skyline Remix). I love how for the core game of Celeste, the music develops along with both the player and Madeline along their journey up the mountain. But then We find the B-Sides, a world where everything gets turned up a notch. This track really lets the player know just what they are jumping into.

These next three tracks are all from games that have been featured, but these are songs that are not.

Inner Animal by Scattle. During the disco missions, this track plays in the background. To me I get 2 different senses. First a sense of acceptance, that this is happening and to just continue pushing on, but also a sense of nearing the end, almost as if we are slowly building up to an important confrontation, which is exactly what ends up happening.

Hope's Theme, Tomorrow's Dream. The sense of calm this track portrays is...almost magical. It pacifies and soothes the soul in a world that could be ending any day. It presents an unspoken hero. Someone who sees a future for the world, one were it survives to be exactly what everyone wants. Were we rule ourselves and are not rules by the gods above us.

Death By Glamour - Electro Swing Mix. We've had so much Undertale, though never this track surprisingly, I figured why not mix it up and show what other creators have done with Toby Fox's tracks. I know one of you loves the Swing/Jazz remixes of tracks so I hope this one fits your tastes. This particular artist has other songs that have yet to be featured as well.

And last but not least, How has Touhou been so overlooked? ZUN seems under appreciated here, ESPECIALLY since you just did a ShMUp episode. Personally, 6 and 7, Scarlet Devil and Cherry Blossom, have always had a soft spot in my heart. The music really makes the game worth playing again and again. I'm terrible at Insanity shooters, but that doesn't stop me from replaying it for the sense of accomplishment I get when listening to ZUN. Somehow I get both a feeling of playfulness but also that seriousness of the issue behind it. The three tracks below are all dear to my heart.

Caught myself listening to the MGSV soundtrack lately and Im still blown away by how good it is but especially how it is used in the game during cutscenes,they complement the game perfectly and really elevate many of the scenes the best examples being:

V has come to- Shades of this theme pop up in through out the whole game but it`s in the beginning that the track really leaves its mark, it really captures that feeling of waking up and then it builds up with a new sense of purpose mirroring Snake`s awakening, a great uplifting track that sets the stage for the game.

Return- Another track that is present through in many parts of the game with different versions of it popping up at important moments, this one also builds up but its increadibly ominous filling you with both anticipation and uneasy about whats going to happen next.

Beautiful Mirage- A great piece that plays in one of the game`s most impactfull moments and this track is essential in making that moment land, oneo f the higlights of the game for sure.

Also for an example how MGSV knows how to rearrange many of it`s themes to great effect can be seen in this track here, the uses both V has come to, Peace Walker and Return.

I just recently started listening to Sound of Play. What a quality podcast. It's nice to hear music that I never would have otherwise, especially when it comes to obscure chiptunes from the Amiga and C64 (cheers, Leon).

Anyway, here's my request. I'm always amazed at the power of nostalgia, since I've probably heard this tune hundreds of times and yet it still takes me back to 2004: the release year of The Sims 2. Never played the original, but as soon as I saw its sequel on the TV show Gamezville, it was straight onto my Christmas list. I've attached a picture of my original copy, which my dad apparently found down the back of the eBay sofa. It's a fantastic game, and probably the last Sims we'll ever have that hasn't been nickel-and-dimed to within an inch of its life.

I'll always remember trying to get the game working on my tinpot computer which barely ran Windows XP. My cousin was over, and we installed it and started it up...and it was like waiting for a dodgy Spectrum tape dipped in treacle to load. And, surprise surprise, when we finally got to playing it, he had to go home.

Enough waffle. Here's my track: the Sims 2 Neighbourhood Theme, by Mark Mothersbaugh*. It's kitschy, it's fun, and it sounds like a world of opportunities awaits you...which, after a few expansion packs, it certainly does.

Hello,
I've been slowly making my way through the excellent sound of play podcast and would humbly like to submit another Tim/Geoff Follin track that i don't believe has appeared before.
Much like the amazing Ghouls n Ghosts soundtrack on the Amiga this was anther conversion where the Follins put there own stamp on the music rather than copy the arcade. Sly Spy is a James Bond-esque character and the arcade soundtrack is very much in that style, however the Follins decided to go all out 70's cop show and make a much funkier offering.

Also worth a listen is the obligatory underwater track that turns into an amazing funk organ odyssey!